The Chorale Through Four Hundred Years

XtlD l^JtlUK/lLD

melody; it is not, however, easy to perform. No wonder, that one
therefore has set the melody in similar notes. Also in this form
it possesses a special power and majesty, so that it — sung by a
congregation — always produces a powerful impression."

Kulke gives three possible endings for Vom Himmel hoch,
as follows: 121

These illustrations show that a tendency toward a freer rhythmic
movement in the chorale exists also in Germany. Kulke's chorale
book demonstrates clearly the desire to get away from the stiff
uniform movement introduced under rationalism.

The German publication which played an important role in
church music in America was that of Dr. Friedrich Layriz, with
the title: Kern des deutschen Kirchengesangs. According to his
preface to this work, all the melodies are reproduced with their
"original tone and rhythm" in so far as current means of repro-
ducing them permitted. However, chorales dating from the
period when "the crazy notion prevailed that a church song
should be written only in notes of equal durational value" were
subjected to a revision making them more varied. In regard to
the harmonic setting, he says that he leans heavily on Johann
Hermann Schein, although he has "permitted himself to use
the dominant-seventh chord four times, three times allows a
chromatic progression in the fundamental voice, and once in
the tenor allows the interval of a diminished fifth."

He states that the use of the Zmscbenspiel is less than one

121 82, No. 315.

106

K.UV1V/1L.

hundred years old and suggests that it be used only at the end
of each stanza, not at the endings of verse lines. The hymns are
to be sung "in the tempo of a serious or cheerful folk song" and
about fast enough that "every line can be comfortably sung in
one breath." His book was first published in 1844.

Following is Layriz's setting of Luther's Ein feste Burg: 122

The C clef is employed throughout the book for the upper
staff. The misplacement of some of the notes in the second and
fourth measures found in the original has been retained here.
Layriz maintains rhythmic variety throughout the two-hundred
settings in his work, twenty-two of which are in triple meter.

A second edition of his book came out in two volumes in
1849. The first volume contains 130 of the most appropriate
chorales for church use and the second volume contains 200
for choir and family use, with a supplement of 17 additional
selections, the G clef having been substituted for the C clef
throughout.

In his preface to the second edition he states that "pains were
taken to preserve conformity with the sources," and claims to
be the first to introduce six-four meter.

»«• 84, No. 42.

107

TtiU CHUKALB

A third edition of four volumes (the fourth being entirely
liturgical music) containing 613 hymn settings came out over
a period of years shortly after the middle of the century. It is
interesting to note that while Layriz repeatedly states that the
chorales are put in their original rhythmic version and that he
has followed closely the sources, he has different versions of
many melodies in each of these three editions. Hassler's melody
to which O Sacred Head Now Wounded is sung is given as
follows in the first edition: 123

while in the second edition it appears as follows: 1

The first edition has this version of O Christ e Morgensterne: 1

The second edition has this version:

The third edition has this version: 126

123 84, No. 84.

134 84, Vol. I No. 52.

i 26 84, No. 144, Vol. II No. 275, and Vol. II No. 273 respectively.

im Meter signatures are seldom given in the third edition.

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Were the writer of this book to edit this melody, he would likely
give it this version:

because the third measure of Layriz's versions in the second and
third editions are not in six-four meter but in three-two.

The unification of the chorales in Germany is continuing. In
the wake of the Eisenach reforms the early twentieth century
produced the General Evangelical Hymn Book of 1906-10, the
Deutsches Auslands hymnal of 1915, and the Deutsches Evang-
elisches Gesangbuch of 1926 with its accompanying Melodien-
buch issued the following year. The Melodienbuch, containing
the musical settings, represents a return to the more rhythmic
type of chorale melody which had been introduced by the
Eisenach chorale book. There is considerable doubt as to the
advisability of this practice, however, since the use of polymetric
forms thereby necessitated is very difficult to impose upon con-
gregations with tradition two centuries old of singing in the
even movement of isometric melodies.

A number of problems have made complete unification ex-
ceedingly difficult. Many areas have been opposed to reforms
as such. A great number of "spiritual songs," largely of the
folk song type, and "evangelical" and "kingdom" songs (wit-
ness the popularity of Spitta's Psaltery and Harp) have found
their way into hymn publications. There has also been a greater
emphasis on research than on the creative writing of hymns.
In spite of difficulties, however, progress has been made. De-
mands for uniform hymnals have been repeated again and again.
No longer is the uniformity of a number of texts and melodies
felt adequate, but the uniformity of complete hymnals is de-

109

THE CHORALE

manded. The Berlin hymnals of 1906 and 1910 which embodied
these ideals, however, were rejected. The compilers of the
Frankfort hymnal of 1927 attempted further unification by
including 342 hymns from the 1926 Evangelisches Gesangbuch
for its first part and then added a second part containing their
own treasury of hymns. A hopeful sign that unification will
continue is found in the fact that hymnals are no longer com-
piled by individuals but by the church itself through its regular
channels of publication.

IN SWEDEN

The reform movement in Sweden started somewhat later
than in Germany. While Svedberg's hymnal had continued in
popular use up to this period, the time was now ripe for a
revision of the entire Swedish hymnological material. This
resulted in what is known as Wallin's hymnal, which, subjected
to numerous revisions and additions, has remained in use till
the present time.

Wallin's hymnal

In 1811, the king appointed a special committee to prepare
a new hymnal to take the place of Svedberg's which had served
well for over a century. The committee released its Forslag till
forbattrade Kyrko-Sanger in 1814. The proposed hymnal con-
tained 413 hymns. It did not meet with popular approval. The
task of carrying on the work was then turned over to Johann
Olof Wallin, who had been a member of the hymnal committee.
Wallin had previously won recognition for his poetical gifts
while attending the University of Uppsala and was well pre-
pared for the task. He completed his work in 1819 at which
time his hymnal was authorized for use by King Karl XIV.

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Wallin's hymnal contained 500 hymns, of which 128 were
his own, 178 were revisions by him, 23 were his translations
and 13 were semioriginal, based on hymns by others. Other poets
who contributed included Franzen, Nystrom, Geiger, Afzelius,
Hedborn, and Astrom.

A revised edition of Wallin's hymnal was prepared by J. H.
Thomander and P. Wieselgren and published in Malmo in
1849. Several hymns were altered to conform with modern
interpretations of Scripture. In 1920, an appendix of 173 hymns
was added, containing contributions by more contemporary
writers, such as Lina Sandell, Rosenius, Johann Eklund, Svante
Alin, Edvard Evers, Eric Sodeberg, and some by hymn writers
of the Reformed churches.

Haeffner's chorale book of 1820-1821

From the musical standpoint, the struggle between the native
rhythmic chorale and the stiff, nonrhythmic chorale introduced
by Haeffner continued at a bitter pace. An enlarged and revised
edition of Haeffner's work was published in two parts, Part I
in Stockholm in 1820 and Part II in Uppsala the following year.
The new publication introduced also a number of new melodies
with not less than ninety taken mainly from two German publi-
cations prepared by Konig and Kiihnau. Konig's chorale book
had served as a model for Haeffner in preparing his own.

Introducing more foreign melodies added fuel to the fire cre-
ated by Haeffner's chorale book of 1808. The people had become
accustomed to the old hymns which their fathers and mothers
had sung and would have nothing to do with these new melo-
dies. In some instances feeling ran so high that parents com-
pelled their children to swear by the Bible that they would not
sing them. The organists would "let these chorale songs roar

ill

THE CHORALE

forth with all the strength which organ performance was capable
of; they became a hostile power, directed against the congrega-
tion's old and, for her, cherished cultural inheritance." 127 This
resulted in a strife between the organists and congregations
throughout the nineteenth century. Moberg states that "what
happened during the nineteenth century has caused great harm
to church song and also to Swedish musical culture."

The period of uncertainty regarding the musical setting of the
chorale caused by the continued use of Vallerius' outdated
Koralpsalmboken and the failure of the government to author-
ize a more modern version was brought to an end by Haeffner
but his work was given a hostile reception by musicians and
laity alike.

Frigel, who was secretary of the Music Academy and member
of the hymn committee till 1818 — the time when Haeffner
came in — had engaged in a number of duels with Haeffner in
various newspapers and magazines regarding the latter's theories
for the musical setting. Comments like these came from Frigel's
pen as he criticized Haeffner's chorales: "Certainly not a master-
piece . . . delightful bass . . . what a modulation!. . . trivial and
monotonous . . . what a torture to one's ear!. . . a great
absurdity." 128

In spite of such criticisms, the musically qualified members
of the hymnal committee which examined Wallin's hymnal
passed judgment on Haeffner's music as well and found it the
best available for the hymns included. Mankell states that these
"musically qualified" members were Stolpe, rector in Stockholm,
who had no intimate knowledge of music; E. G. von Rosen,
a talented organist but without formal instruction in music;
Ahlstrom, also an organist but poorly qualified musically, and

""24, p. 463.

i 28 23, Vol. II-I1I, p. 288.

112

K.ZVIVAL

Frigel, whom Mankell calls the only member who could intel-
ligently express himself on Haeffner's chorales.

An examination of Volume I of Haeffner's chorale book
reveals that fifty-one per cent of his harmonizations are in minor
keys, including his use of the old modes of minor feeling. His
use of the old modes is rather extensive. No. 158, in the Mixo-
lydian mode has this ending:

Almost all chorales are in two-two or four-two meters, al-
though C is often used to designate both. Six chorales are given
double meter signatures: three-two C or three-two (£. Such mixed
meters appear to be used in order to set the old melodies in mod-
ern notation without extensive alterations.

To illustrate how older melodies were reduced to notes of
equal duration, compare the first melody on page 78, taken from
the 1697 Koralpsalmboken with Haeffner's version (No. 390).

113

ltlti ^tlUK/iLH

In some localities Haeffner's chorale book was accepted be-
cause it was considered as good as any available. "It may surely
stand with honor beside most foreign publications," writes Man-
kell. 129 He adds, however, "It cannot be denied that Haeffner
overlooked or pretended not to know a number of German
chorale treasures which were well worth being taken up even
in the Swedish chorale book." Moberg concludes, "We believe
that one shall gradually understand that the best, the vital and
important in the criticisms of Haeffner's chorale book on the
whole gained consideration, and the objections one might have
against the new chorale book are on a different level." 130

From this time on to the present Swedish chorale book editors
have tried to bring the spirit of the 1697 chorale book into
their chorale versions. While many of the subsequent chorale
books have been largely revisions of Haeffner's, a gradual move
away from the Haeffner style has been noticed.

Continued reform

In 1832, a chorale book was issued by Olof Ahlstrom, in
which he attempted to maintain a middle course in the contro-
versy between the rhythmic and nonrhythmic chorales. He
subjected the chorales to a thorough revision in an attempt to
bring them back to their original Swedish style. His work was
well received, but a number of the melodies were in too high a
register for congregational singing.

In 1858, what came to be known as Petterssons Koralpsalm-
bok was published. This was the first Koralpsalmbok, i.e. having
both the text and full musical setting, to be published since
1697. This was also opposed to Haeffner, with a number of
melodies in the old rhythmic form. This publication was widely

1™ 23. Vol. II-HI, p. 283.
^ 24, p. 541.

114

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used, having its fourth edition in 1875 and its tenth in 1901.

Meanwhile the Haeffner type of chorale was bringing about
a pitiable state of congregational singing. The melodies were
dragged out at an exceedingly slow tempo and the hymns with
from twenty to thirty stanzas seemed without end. To help
solve this problem a booklet was prepared by P. A. Heischman
in which he suggested that "three seconds be allotted for each
note in chorales of joy and celebration; four seconds for those
of sad and grave character, with the cadence tones held some-
what longer and the pauses after the cadences to be from two
to four seconds respectively." 131 Considering "America" as a
song of "grave character," it would take about nine minutes to
sing three stanzas according to the suggested tempo, whereas
we sing it in about one and one-half minutes! And Heischman's
suggestion was recommended to improve the singing!

The struggle between the Haeffner type and the native rhyth-
mic type of chorale melody, however, continued with the pastors
apparently taking more interest than the organists. In 1860,
C. J. Lewerth published what was essentially an edition of
Haeffner's chorale book although some changes were made in
both the melodies and the harmonic setting.

In 1864, Abraham Mankell published a Koralpsalmbok.
While Mankell was an avowed opponent of Haeffner, Noder-
mann criticized him for evening out the note values even more
than did Haeffner. Both the Mankell and Pettersson publica-
tions, however, made rather free use of triple meter, whereas
this is scarcely found in Haeffner.

Another revised Haeffner book was published in 1877 by
J. A. Josephson. This work had been started by Frank Berwald
but upon his death in 1868 was continued by Josephson. While

i» 24, p. 462.

115

THE CHORALE

the publication is definitely "Haeffnerian," it is considered a
great improvement.

A chorale book opposed to the Haeffnerian style was pub-
lished by Israel Sandstrom, also in 1877. Sandstrom employed
a more rhythmic version of the melodies, using a Norwegian
publication by Ludwig Lindeman as model. He included also
a number of melodies not found in Haeffner.

The first genuine threat to the Haeffner style came with the
publication of C. E. Sodling's Svensk Folkets Choralmelodier
in 1878. But four years later another Haeffner edition was re-
leased by B. V. Hallberg in which a number of the less-used
Haeffner melodies were omitted and an appendix of new melo-
dies added, drawn mostly from the Wiirttemberg chorale book
of 1844. Several additional publications came out toward the
end of the century, such as Tornwall's in 1882, Hultstedt's in
1885, Heintze's in 1889, Rendal's in the same year, Lindstrom's
Koralpsalmbok in 1892, and Anjou's chorale book in 1899 —
all belonging to the Haeffner camp. Those who advocated the
more rhythmic type included publications by Humbla in 1885,
Lagergren in 1886, Ullman in 1890, and Stockenberg in 1899.

In 1903, the Svensk Koralbok (efter Haeffner) was pub-
lished by Nordqvist and Lagergren, essentially a revision of
Haeffner's work, though more flexible in rhythmic treatment.

Examples of the melody to which the Swedish hymn Ach,
hjertans ve was sung in some of these publications follow.

Haeffner, No.

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b)

C\

O

Mankell,

No. 55

Nordqvist-Lagergren, No. 98a

Lindstrom, No. 98

OIL ^

o

Lundblad, No. 3

e) _____

<ft) fc'i. r r J * * §;- J j|t,=frf~ r r f" f r p "

What a Tower of Babel this was! No wonder congregational
singing has had its difficulties with so many versions of a single
melody appearing in a couple generations' time!

Nordqvist and Lagergren suggested that the tempo for songs
of praise should be to sing a quarter-note at 60 M.M. (one note
per second), while selections such as Luther's Ein feste Burg
be taken somewhat slower. Passion hymns, communion hymns,
funeral songs, and so on, should be taken still slower.

While Lindstrom seems to prefer a rhythmic pattern less
rigid than Haeffner, he allies himself definitely with the non-
rhythmic group. In his preface he states "In regard to the
chorales from the new hymnal, Wallin was from the beginning
doubtful whether he should adhere to the more conservative

117

IHH CHORALE

Haeffner or to the more modern Frigel-Ahlstrom faction.
Thanks to Geiger's influence, he allied himself with Haeffner,
whose great merit it was that the Swedish chorale book has such
a rich resource in charming and worthy melodies."

The Friends of Church Song

In 1876, Bishop U. L. Ullman in his Evangelisk-Luthersk
Liturgik states that there is a need for a "congregational song of
a livelier disposition, of more life and power than the drawn-
out, drowsy melodies which one . . . nevertheless not seldom gets
to hear in our regular church services." 132 In 1889 a group of
pastors, among them G. T. Lundblad (1851-1931), formed a
male quartet to sing church music and arouse an interest in
what they saw needed to be done to improve the deplorable
situation resulting from the years of strife precipitated by Haeff-
ner. Two years later they had a following large enough to form
an organization "for the improvement of the church song with-
in the congregations of the bishopric." 133 Bishop U. L. Ullman
(d. 1930), Rikard Noren (d. 1922), and J. T. Moren (d.
1932) became leaders of the new movement. Bishop Ullman
was a member of the hymnal committee delegated in 1889 to
revise Wallin's work, and in 1890 prepared an edition of El-
frida Andree's chorales as a temporary expedient until a new
chorale book could be prepared. In his preface to this work he
states how he aimed to set the chorales in their "original form,"
so that the congregations could sing the hymns "as their fathers
did." He reminds his people of the 1697 chorale book as being
of peculiarly Nordic character and genuineness "of which Haeff-
ner in his chorale book almost entirely deprived us." 134

132 Quoted from 24, p. 468, 469.

133 24, p. 499.

134 24, p. 500.

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Noren and Moren collaborated in the preparation of their
Valda koraler i gammalrytmisk form (Selected Chorales in
the Old Rhythmic Form) , in which their rhythmic system was
based on the theories of the ancient Greek philosopher, Aris-
toxenos! They criticized the German writers such as Layriz for
their treatment of the rhythmic structure.

The Friends of Church Song took their matter seriously.
Bishop Ullman who gave the opening address at the first meet-
ing of the association in Linkoping in, May, 1898, stated ". . .
it is a question about nothing less than a great church matter
of eminent importance for our people, especially for our youths'
religious welfare, edification, and ennoblement, yes, its churchly
nourishment." 136 The association published through its secre-
tary, G. T. Lundblad, Svensk Koralbok i reviderad rythmisk
form (Swedish Chorale Book in Revised Rhythmic Form) in
1901. This was followed by an improved edition the following
year. From the foreword to the first edition of Lundblad's book,
we quote: "One begins more and more to understand that some-
thing needs to be done to free our hymn melodies from their
century-old shackles and assist them to a new rhythmical and
naturally lively beauty " He made free use of three-two, six-
four, and three-four meters and also double signatures of three-
two and six-four.

While the Lundblad book is distinctly opposed to the stiff
Haeffnerian movement, Nodermann comments that "It is pos-
sible to play several high masses from this book without the
congregation knowing other than that the organist played from
Haeffner's chorale book." 136

Johann Lindegren (d. 1908) published a work in 1905 in

136 21, p. 7.
133 28, p. 93.

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Ltiti LtiUKALU

which he presented the melodies in both the old and new rhyth-
mic versions. While he favored rich harmonization and a good
movement in the chorale, at the same time he tried to retain
as much as possible of the older practice. Some of Haeffner's
melodies are retained unaltered. In his preface he states that "To
render the important melodies from the Protestant Chorale's
golden age — the sixteenth and seventeenth centuries — readily
accessible in their most genuine form, so that friends of churchly
art with ease can place themselves in this music genus and also
that interest for its practical use be entirely common is the aim
of this work." 137

The Nodermann-Wulff chorale book of 1911 retains rather
strong Haeffner characteristics although it introduced freer
rhythmic movement without aiming to return to "old rhythmic"
patterns as was characteristic of the Friends of Church Song
movement. The Nodermann-Wulff work, therefore, represents
a reaction against the Friends of Church Song movement be-
cause it identifies itself with the Haeffner style.

Further evidence of a reaction against the Friends of Church
Song is seen in a publication by Hugo Bedinger, organist at
Vasteras, who published in 1911 his chorale book "with hymn
melodies as they correctly should be set forth." 138 He opposed
the Friends of Church Song practice in their use of three-two,
six-four, and five-four meters and sought "to give the 'natural
rhythm' "in closer agreement with Haeffner's work, "whose
chorale book," Bedinger states "was lightly judged and sentenced
by so many."

After having been subjected to the two extremes of Haeffner
and the Friends of Church Song, Sweden has just in the last few

137 28, p. 93.

138 24, p. 506.

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decades arrived at a rather satisfactory solution to her problem.
In 1916 an official chorale book committee was formed and
commissioned to prepare a new chorale book for the church.
Members of this committee included Otto Olsson from the
Stockholm Conservatory. Their work was published in 1921.
A number of melodies were taken from Haeffner and the chorale
book of 1679 with the melodies from the latter source in a
simplified rhythmic form. A number of Haeffner's chorales
were excluded. Compositions by contemporary Swedish com-
posers were included, among them four by Johann Lindegren,
one each by Moren and Noren, and three by Otto Olsson.

Many Swedish church musicians conceive the new chorale
book of 1921 as a defeat for the search for the rhythmic chorale
which above all characterized the Friends of Church Song — and
so no doubt it is.

A supplementary collection of a group of proposed alterna-
tive chorales was published in 1934. This publication lists
thirty-four melodies of the 1921 publication as unsuited. Thirty-
three melodies in the supplement are by recent composers, nota-
bly Gunnar Wennerberg.

A school publication of this period, Folkskolans Koral-Psalm-
bok by N. E. Anjou, published in Stockholm in 1922, shows
also the very definite trend toward the more rhythmic type of
hymn melody. While an edition of Den Stvenska Psalmboken
published in Oerebro in 1823 has this melody:

Anjou's book has this version of the same melody:

121

i tin i^tiuK/iLa

No. 298

IN NORWAY
Independence

During the period of the Napoleonic wars, Norway was com-
pletely cut off from Denmark. This resulted in a heightened
spirit of nationalism among the Norwegians. At the close of
the war, the great powers, England, Prussia, Russia, and Aus-
tria, were determined that Norway should not remain under
Danish rule but be given to Sweden. This was done when the
peace was written in 1814. Sweden, however, recognized a con-
stitution drawn up by the Norwegians so that Norway was given
virtually an autonomous government. This arrangement existed
until 1905 when Norway gained complete independence.

As long as Norway was a part of Denmark, Copenhagen
with its university, large churches, the royal palace, and other
spheres of influence remained the one great cultural center for
both countries. Norway did not develop as favorably in the fields
of art and music as did Denmark. The growth of a distinctly
Norwegian music and literature did not begin till the early nine-
teenth century. During the second half of the century, the first
far-reaching attempts were made to produce a Norwegian
hymnody based on purely Norwegian traditions. Several
factors now made this possible. The first, naturally,
was the separation from Denmark and the forming of what
was practically an autonomous government, linked loosely
with Sweden. The second factor was that the first generation
of German-trained musicians had passed, and while Norwegian
musicians still went to the Continent or to Denmark to study,

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there was a greater urge to develop a nationalistic type of music
and not merely to imitate the foreigners. A third factor to be
considered is that through centuries of rather erratic develop-
ment, Norway had gleaned some church music which could be
rightly called her own. This does not mean that the originally
Danish hymns which had been used in Norway were now to be
discarded. On the contrary, the better-liked Danish hymns to-
gether with the Norwegian hymns formed the nucleus around
which the new hymnody was to develop.

Ole Andreas Lindeman

Coming of age as a nation meant also supplying music for
the church which would be more indigenous to their worship.
Zinck's chorale book had been used but now a change was in
order.

The leader in music at the moment was O. A. Lindeman,
organist in Vor Frue Kirke in Trondhjem, a position he had
occupied since 1799. Lindeman had studied in Copenhagen and
had returned to Norway at the age of twenty-four. He was asked
to prepare a chorale book to serve as a common melody book for
Kingo's, Guldberg's, and Balle's hymnals and thus promote
uniformity in church song. Lindeman was instructed to give the
entire chorale literature a critical revision and to restore the
chorales as far as possible to their original character. His chorale
book was published in 1838 and was accepted as the replace-
ment of Zinck's and other collections which had remained in
use.

From his introduction to this work we learn that Lindeman
felt it necessary to give the chorales a critical examination be-
cause of the many differences which existed in the Breitendich,

123

I titi CMUKALh

Schiorring, and Zinck chorale books. He complains that not
only do certain notes differ but entire phases. He comments that
the practice of adapting the melodies written in the old ecclesi-
astical modes to the modern major and minor scales has resulted
in the destruction of their original character. He attempted, he
says,

on the one hand to avoid monotonous harmony which becomes boring
and tiring for the ear, and on the other to avoid unnecessary passing
tones, chromatic and enharmonic progressions whereby the harmony
in place of enhancing the melody renders it unrecognizable by con-
cealing it under a bombast of successive dissonances. . . While the
harmony which is found in the chorale book is not the only possible
version, it is understood that the organist is not bound to use this
version but that he may alter the harmonization for each stanza. . . 139

This last sentence implies that his book is written for organ,
although "its use for four singing voices is not thereby rejected
or made impossible," he continues, although he feels that the
choir should sing in unison with the congregation.

As compared with his predecessors, Lindeman used a more
modern harmonic idiom and instead of using the conventional
repeat sign for repeated periods, he gave the repeated melodic
unit a new harmonization. While these are notable improve-
ments, the book also had its shortcomings. The rhythmic pattern
is definitely of the Haeffner type — pages and pages of half
notes, interrupted only occasionally by a quarter note. All but
five of the 186 chorale settings are in two-two meter. Some melo-
dies, such as his No. 8, Al den ganske Christenhed, which was in
triple meter in earlier collections is now set in duple meter with
notes of equal duration. He was as opposed to the three-beat
measure as was Zinck.

la " 87, Introduction.

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The following example:

O. A. Lindeman, No. 90

had this version in the Erfurt Enchiridion of 1524 which
Thomisson had retained with only slight change. 140

Lindeman's version of Ein feste Burg is a series of half notes
all the way through. The opening period follows:

The authorization of O. A. Lindeman's chorale book brought
about a "song-strife" similar to that in Sweden. While Zinck's
work was generally blamed for the difficulty in hymn singing,
Lindeman's book didn't improve matters and since it was author-
ized for exclusive use in the churches, it received much of the
blame.

Some felt that the low state of congregational singing was

M0 Taken from 34, p. 108.

125

THE CHORALE

the fault of the organ. The congregation "cannot distinguish
the individual tones in a harmony and grasp the melody" 141
was the complaint of some. One writer found that "the organist
plays according to O. A. Lindeman, but the greater part of the
congregation sings according to the old melodies." 142 His melo-
dies are criticized as "cold and stiff." There is a demand on the
part of some for the rhythmic version. G. Bergh, a seminary
teacher, found that half of Lindeman's melodies were not usable
because they lacked melody and therefore were too difficult.
His harmonization is criticized as a "seeking after musical ef-
fect" — the harmony has become the important thing and robs
the melody of its beauty. Some argued that the congregation is
entitled to sing the old version of the melodies and that the
church song in general should as far as possible be similar to
the old folk song type of melody.

There is also the question whether the melodies ought not
be in their original form as the composer wrote them and con-
gregations sang them "until the last century's desire to change,
lacking in taste and churchly sense or depth, particularly to
remove their rhythmic features, handling them in such a man-
ner as to render most of them unrecognizable . . ." 143

Others did not place the blame for poor congregational sing-
ing on Lindeman's chorale book, but felt it was because the
chorales were sung in such a slow tempo in rehearsals at the
seminary. But the seminaries have their own complaints about
the differences in practice in the various churches. Doderlin of
the Asker Seminary states that,

To begin with, the music teacher at the seminary must be acquainted
with all congregations in the diocese and he must also be a man who

111 34, p\ 30.

" a 34, p. 40.
"» 34, p. 34.

126

KZVIVAL.

can appropriate and write down each congregation's version [of each
melody] and he must be certain for which congregation each student
is preparing so that he can get the proper version and he must
finally also be certain that the student remains in the congregation and
that this version should not be strange to the congregation should he
move to another place or it would be necessary to teach each student
all versions, and this must be recognized as being impossible. . . . 144

O. A. Lindeman's chorale book created a stir similar to Haeff-
ner's in Sweden. Such was the reception given the first Nor-
wegian chorale book!

Hymnals

By the middle of the nineteenth century, a number of more
popular hymn books were available. Among them were books
by the Danish hymn writers, Grundtvig (Sang-Vdrk til den
Danske Kirke, 1837), and Guldberg, and a hymnal by the
Norwegian lay-preacher, Hans Nielsen Hauge. Kingo's hymnal
was revised under the supervision of B. S. Ingemann and re-
issued in 1855.

It remained for a Norwegian minister in Telemark, M. B.
Landstad, to bring order out of the heterogeneous hymnody
which had developed and to produce a Norwegian hymnal more
to the wishes of the people. Landstad was well qualified to take
over this difficult task. He had won renown as a writer of re-
ligious poetry and his keen interest in Norwegian folk music
had netted him a sizable collection of religious folk songs
gathered mainly from the Telemark area.

Landstad prepared his hymnal with the skill of an artisan.
Fifty of his own hymns were included. When it was published
in 1869 it was authorized for use by a resolution by the king.
This has since been the most generally used hymnal in Norway.

"* 34. p. 37.

127

inn ^nL/iwii-.c

Ludwig M. Lindeman

The man who was to collaborate with Landstad in supplying
Norway its first satisfactory congregational hymnal was Lud-
wig M. Lindeman, organist at Vor Frelsers Kirke in Christiania
(now Oslo) , and son of Ole Andreas Lindeman. Ludwig Linde-
man and Landstad had previously prepared an edition of
Luther's Geistliche Lieder in 1859 under the title of Martin
Luthers Aandelige Sange. They had carefully preserved the orig-
inal rhythmic characteristics of the melodies, although syncopa-
tion was removed. To these melodies, Lindeman added a setting
for four voices.

With the publication of Landstad's Psalmebog in 1869,
Ludwig Lindeman undertook the task of preparing a new
chorale book. This undertaking he completed in 1871, issuing
the book in two parts. The first part contained the melodies
not found in his father's book and the second part contained
melodies from his father's book. He sought to rectify the evils
of his father's and Zinck's chorale books. In his foreword he
states he has omitted "all that can be a hindrance for good
church song."

Fifty-four of his own chorales are included in the publication.
A number of these have met with popular favor. 146 He sug-
gested that the quarter note be substituted for the half note in
the interest of reducing printing costs, thus breaking with the
hitherto common practice of using the half note as the beat unit.
The use of irregular rhythm was removed, substituting J J J
J J J , for though there are some devices of this type to be found
in his own chorales. A partial restoration of a more rhythmic
pattern was effected by the rather frequent use of J. J 1 instead
of J J , although the regular quarter note pattern is followed

liS His "Built on the Rock" has become a univetsal favorite.

128

REVIVAL

extensively. Instead of fermatas at the endings, the ending note
is frequently an eighth note followed by an eighth rest. In his
preface he suggests that the tempo be J = 60 M.M. or a little
less, according to the circumstances. He states also that those
organists who are adequately trained may use their own har-
monizations — differing for each stanza, but warns that those
who. are not sufficiently trained in harmony and performance
should play exactly as written.

Copies of Lindeman's book were sent to all pastors in the
country and in many places it was put into immediate use. It
was well received — 7,000 copies were sold in six years. Linde-
man's work represents a blending of the old with the newer
trends in chorale music, preparing the way for still further
progress. The rhythmic movement he gave the melodies ended
the period of song-strife which existed as long as his father's
book was used.

A comparison of how Nicolai's Wie schon leuchtet der
Morgenstem is handled by O. A. Lindeman and his son, Ludwig,
will show the main characteristics of the differences in style.

O. A. Lindeman, No. 4

Ludwig Lindeman, No. 2

Eric Hoff

An unauthorized chorale book was published in 1878 by
Eric Hoff, for organ, piano, or mixed choir. It contained settings
for the Hauge, Landstad, Evangelisk-Kristelige, Guldberg, and

129

ltiti L,tiUK/lLti

JVi-l Y ± Y fli-t

Kingo hymnals, as well as the hymnal for the Norwegian
Evangelical Lutheran Church in America. This publication is
mentioned here only because of the problem of the rhythmical
version of the chorale. In his preface, Hoff states that,

Throughout the Lutheran church especially in the last fifty years, there
has been expressed the wish that congregational singing be improved.
One felt that it had gone to pieces, and that those who understood and
had something to do with it, talked loudly and still talk about the
chorale's condition, but they are incompetent and unsatisfactory.

Commenting on the contest between the rhythmic and non-
rhythmic chorale versions, he states

... the correct way is to let the melodies retain their original rhythmic
form so far as they can be used by the congregation. Let both the rhyth-
mic and nonrhythmic forms work side by side.

In carrying out this plan, Hoff frequently gives two versions
of the melody, as:

No. 151

which is also given in what he calls "chorale form":

Revisions of both Landstad's hymnal and Lindeman's chorale
book were made in the first quarter of the twentieth century.
Gustav Jensen's revision of the hymnal in 1915 introduced a
number of hymns for which there were no melodies in Linde-
man's chorale book and some of the old melodies had no texts

■■

in the new hymnal. An appendix of new melodies was con-
sidered but this was discarded in favor of preparing a new
chorale book, the Koralbok for den Norske Kirke, published in
1926. Religious folk tunes of Norway contributed most of the
new melodies in this collection. A few of Ludwig Lindeman's
settings were omitted and those retained subjected to minor
modifications. A number of originally composed musical settings
are also included. A revised edition was published in 1936 in
which a number of chorales were transposed into a lower key.
The selection of melodies was made to provide for the hymnals
then in use, the Gamle Landstad, Landstad's Reviderte Kirke-
salmebog, Nynorsk Salmebok, and Hauge's Salmebog.

IN DENMARK
Reorganization

The close of the Napoleonic war in 1814, resulting in the loss
of Norway, was followed in Denmark by a period of political
and social agitation and reorganization. This period brought
forth the adoption of a liberal constitution in 1849. From the
viewpoint of church organization, the country was almost en-
tirely Lutheran.

Bishop Grundtvig

Bishop Grundtvig is easily the greatest hymn writer of the
period. His Sang-Vdrk til den Danske Kirke was published in
1837 with subsequent editions following throughout the cen-
tury. His Festsalmer was published in 1850.

Another important publication was the Roskilde Konvents-
Salmebog published in 1855. Its chief feature was the restora-
tion of the old hymns to their original form. These hymns had
been rewritten or in some cases almost wholly destroyed in the

130

131

JL 1.J.U, yjJL±lSl\SlLjE,

earlier Evangelisk-kristelige Salmebog by Balle, issued in the
rationalistic period. Another hymnal was published by a clerical
synod at Roskilde in 1873, the Salmebog til Kirke- og Hus-
Andagt.

Danish and German music parted early in the nineteenth
century, largely due to Grundtvig's influence. The old stiff
chorale melodies were not suitable for Grundtvig's texts. In
order to supply melodies for the new hymns, the Danes did as
the Pietists had done: went to secular sources or dressed up
older church melodies in their likeness. The form, technique
and method of the Romantic composers were employed in sup-
plying melodies for the new hymns.

The following is an illustration of the type of melody
employed. 148

Chorale publications

Like Sweden and Norway, Denmark also fought the non-
rhythmic version of the chorale melodies. Chorale books by
Weyse in 1839 and Berggreen in 1853 continued in the stiff
style introduced under rationalism, but Rung's of 1857 and
Barnekow's of 1892 represent the newer trend. The Danish
historian, Thuner, comments that, 147

As an attempt to revive the rhythmic congregational song of the period
of the Reformation on a Danish basis similar to endeavors which are

"» 79, No. 14.
" 7 120, p. 17.

132

REVIVAL

made in Germany, Thomas Laub issued in 1888-90 and again in 1896-
1909 hymn melodies in church style, which in 1918 was followed by a
complete collection of Danish church song (supplements in 1925-
1930), and which in addition to old melodies in rhythmical form con-
tains a great number of melodies by himself.

Laub's first work, his Kirkenmelodier (1888-90) consists of
three volumes, making it a very complete collection of hymn
melodies. Like his Scandinavian brethren, Laub sought to restore
the more rhythmic version of the chorales.

In 1901, Melodier til P salmebog for Kirke og Hjem was
published by V. Bielefeldt. This has been widely used. It was in
its fifteenth printing in 1943. This publication represents promi-
nently the trend toward the more rhythmic type of hymn
melody. Triple meter is freely used. In some instances two
versions are used, similar to Hoff's procedure, while a number
of the old chorale melodies, such as Ein feste Burg, are set in
strict patterns of even-note movement. It appears that Bielefeldt
has gained rhythmic variety, not so much by altering the old
melodies as by including new melodies originally with a strong
rhythmic movement.

The following excerpts illustrate his melodies of freer rhyth-
mic movement:

DET ER SAA YNDIGT AT FOLGES AD

No. 35

^ p ? J* i r p p- p ji i J .M 1 ^

133

THE CHORALE
BLOMSTRE SOM EN ROSENGAARD

No. 15

OJNE, I VAR LYKKELIGE

No. 202

Other recent publications include the L. Birkedal-Barfod
Menigbedens Melodier til Brug i Kirke og Hjem of 1914.

134

The Chorale in America

IN CHURCHES OF GERMAN BACKGROUND

Immigrants to this country brought their hymnals with them
as a matter of course. Since the evangelical church in Germany
had not attained a homogeneous hymnody, the early period of
the immigrants represents as great a divergence in hymn litera-
ture and practice as the localities from which they came in
Germany. Thus the Salzburgers who settled in Georgia used
the Pietistic "Wernigerode hymnbook. In Pennsylvania the Mar-
burg hymnal was widely used. In other places the Coethen Songs
and the Wurttemberg hymn book of 1741 was used. German-
Russians used the so-called Volga hymnal, imported from Russia.

German publications in America

The first German hymnal to be published in America was
the Erbauliche Lieder-Sammlung zum Gottesdienstlichen Ge-
brauch in den Vereinigten Evangelisch-Lutherischen Gemeinden
in Nord America, compiled by a committee instructed by the
Ministerium of New York to prepare a hymnal along the order
of the Halle hymnbook. It was published in 1786 and contained
706 hymns. The preface was written by Henry Melchior
Muhlenberg, patriarch of Lutheranism in America. This publi-

135

Vj 1 ± \S X\X XXjXJ

cation was replaced by a hymnal prepared by the General

Synod in 1843.

In 1849, a new hymnal was published by the Ministerium of

Pennsylvania. It was prepared under the editorship of Dr. C. R.

Demme, and became popularly known as the Wollenweber

book, this being the name of the publisher.

The Kirchengesangbuch fur Evangelisch-Lutherische Ge-

meinden compiled and edited by Dr. C. F. W. Walther and his

associates became the official hymnal of the Missouri Synod

soon after its founding in 1847. The Ohio Synod also published

its hymnal in this period.

In a convention of the General Council at Fort Wayne in

1867, a committee was appointed to prepare a new hymnal.
This resulted in the Kkchenbuch, published in 1877, and ex-
tensively used. In 1894, the Deutsche* Gesangbuch was pub-
lished for the evangelical Lutheran churches in America by
the J. E. Stohlman Company of New York.

The publication of these hymnals and others less widely used,
necessitated also the preparation of chorale books to go with
them. A chorale book for the first German hymnal, the Erbau-
liche Lieder-Sammlung of 1786, was published in 1813 at the
request of the German Evangelical Lutheran Ministerium. This
contained 160 musical settings, consisting of melody and figured
bass. Since this appears to be the first chorale book published
in America, it is a work of unusual interest. The musical settings
are rather conservative, quite in line with the practices in
Germany at that time. Following is the complete setting of Vom
Himmel hoch, which may be compared with a setting of the
same melody published in Germany in 1817, found on page
85. 148

1 «46, page 8.

136

THE CHORALE IN AMERICA

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C\

Tu5 *p

4#

I °

Ol

»): flu y|i . '

— 7 rj \t, m

i i ~» r

tt. ■

Oi

r

Oi

» •

=«=i

it

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1 S^* W *

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"rF 1

Another important publication of this period was Schmauk's
Deutsche Harmonie, first published in 1847 and reissued in
1875. This was prepared for Deutsche Singschulen unci Kirchen
and was intended for choir use. Each voice is written on a sepa-
rate staff, with the melody in the tenor.

The work of Dr. Layriz played an important role in the
preparation of German chorale books in America. In 1871, an
American edition of the most-used chorales was prepared, tak-
ing them from Layriz. It was published in St. Louis under the
title Evangelisch-lutherisches Choralbuch fur Kirche und Haus.
The chorales were taken from the second edition of Layriz and
given exactly as contained there with the exception of occasion-
ally using a complete bar and a tie instead of setting a half note
astride a bar line as is shown in the third example from Layriz
on page 108.

137

J. tic ^nUK/lLti

In 1879, a chorale book by J. Endlich was published in
Philadelphia. It contains also liturgies for the seasons of the
church year. The rhythmic patterns of the old chorale melodies
are kept quite conservative although there is generous use of
triple meter and unusual amounts of irregular rhythm resulting
largely from trying to retain old rhythmic patterns in modern
notation. Thus, Hassler's melody given as follows:

No. 220

is worse than having no bar lines at all. This is the same version
as used in the first edition of Layriz. 149 Hassler's own version of
the melody together with its original text is as follows:

Luslgarten, No. 24

Mein Gmiith ist mir ver - wir - ret, das macht
gantz unci gar ver - ir - ret, mein Hertz

ein Jungle- frau Zart, bin hart, hab tag urid naoht kein ruh,

das kranokt sich

fiihr all - zeit gro - sse klag, thu stets seufftzen

und

- nen, in trau - ren schier ver - zag, zag.

Endlich's setting of Ein jeste Burg is likewise set in modern

140 See page 108.

138

THE CHORALE IN AMERICA

metrical notation but at the same time tries to retain the older
rhythmic pattern.

No. 71

Endlich's chorale book was not based on that of Layriz although
the latter appears in a listing of sources consulted by Endlich.
In 1888, a chorale book based on the work of Layriz was
published by Karl Brauer in St. Louis. In his foreword to this
work, Brauer remarks that:

Through the second edition of Kern des deutschen Kkchengesangs by
Dr. Fr. Layriz one congregation after another soon learned to sing the
church songs according to the melodies contained therein. One rejoiced
in these melodies with their original swinging rhythm. . . .

Brauer's book is essentially a duplicate of the 1871 edition
mentioned on page 137. A number of settings are retained
exactly; in others new harmonizations have been given in part
or almost wholly.

Additional publications representative of this period include
the Liturgie & Choral-Buch published in Philadelphia in 1897;
a Choralbuch, published in St. Louis (L. Volkening Ver lag) in
1883, and H. J. Holter's Choralbuch, used widely in the Mis-
souri Synod.

In 1902, Fr. Lutz published another collection based on the
work of Layriz. Selections were made from the different edi-
tions. Only minor changes were made, for the most part only

139

THE CHORALE

bringing the notation up to date, eliminating such practices as
setting a half note astride the bar line. His setting of Ein feste
Burg is in eight-four meter!

English publications in America

The first English hymnbook used in America was a London
publication, Psalmodia Germanica. Part I was published in
1722 and Part II in 1725. The two parts were combined in a
single publication in 1732. It was a translation from the High
German. The musical settings consisted of melodies with figured
bass.

The first Lutheran hymnbook in English to be published in
America was prepared by Dr. J. C. Kunze, assisted by George
Strebeck. This undertaking brought forth A Hymn and Prayer
Book, for the use of such Lutheran Churches as use the English
Language. It was published in 1795. About two-thirds of the
239 hymns included in this publication were taken from Ger-
man sources, many taken either from the Psalmodia Germanica
or from an English hymnbook for the Moravians published in
1789.

Other English publications were issued by Strebeck in 1797
and by Williston in 1808. The latter was used by the Tennessee,
Ohio, and General Synod. In 1814 the Evangelical Lutheran
Synod of New York published A Collection of Hymns and a
Liturgy, for the use of Evangelical Lutheran Churches. Twenty
years later Additional Hymns was published, which together
with the 1814 collection was extensively used.

Rev. Paul Henkel prepared the Church Hymn Book in 1816,
which was used largely in the Synod of Tennessee, formed in
1820. Several editions of this work appeared — the fourth in
1857.

140

THE CHORALE IN AMERICA

What appears to have been the most widely used hymnbook
of the nineteenth century is Hymns, Selected and Original, for
Public and Private Worship, published by the General Synod in
1828. The title was somewhat misleading, since two hymns by
Dr. S. S. Schmucker, chairman of the hymnal committee, are the
only original contributions. The thirty-first edition in 1842 was
slightly revised, with an appendix of about 200 hymns added.
The book passed through its fifty-sixth edition in 1849. In 1845
the General Synod appointed a committee, headed by Dr. W. M.
Reynolds as chairman, to revise the hymnal. The revision was
released in 1850, with 759 hymns and an appendix of over
250 hymns. It was used as well in the Joint Synod of Ohio and
Other States, formed in 1833, but was replaced by their own
publication in 1845, the Collection of Hymns for Public and
Private Worship. Musical annotations for this work were pre-
pared by Prof. Frederick M. Bird. This hymnal made the transi-
tion from the early period of English Lutheran hymnals which
contained great numbers of hymns by non-Lutheran writers to
a more genuinely Lutheran product, embodying definitely
Lutheran traditions and ideals.

The Evangelical Psalmist, a collection of tunes and hymns
prepared by Drs. Seiss, Mc Cron, and Passavant, was offered to
the General Synod as a revised edition of the Hymns, Selected
and Original, but since the synod did not accept it, the editors
published it in I860 under the above title.

In 1865, Hymns for the Use of the Evangelical Lutheran
Church was published under the authority of the Ministerium of
Pennsylvania. The musical annotations were by Prof. Bird. The
hymns in this publication became a part of the Church Book
published by the General Council in 1868. In 1872, the Church
Book was issued with music by Harriet Reynolds Krauth and

141

THE CHORALE

authorized by the General Council. According to the preface,
many of the harmonizations were taken from Layriz. Others
were taken from the, Chorale Book for England, published in
London in 1865. From "Practical Suggestions" following the
preface in this volume, we quote the following:

The importance of frequent meetings for congregational singing, can-
not be too strongly urged upon Pastors. An hour in each week, given
to the study and practice of church music, will soon enable any congre-
gation to join devoutly and intelligently in every portion of the service.

The fifth edition of the revised Hymns, Selected and Original,
published in 1852, became the basis of the Book of Worship,
issued by the General Synod in 1871. A number of new transla-
tions from the German were included. There are, however,
rather few chorales in this work/There is a marked tendency
toward strong rhythmic movement. Running eighth notes in
thirds and the dotted eighth-sixteenth figures are frequently met.

The Synod of Missouri, Ohio, and Other States used the
Hymn Book for Use of Evangelical-Lutheran Schools and Con-
gregations, published in 1879, and the Hymns of the Evangelical
Lutheran Church for the use of English Lutheran Missions,
issued in 1885. The latter contained music.

The Evangelical Lutheran Hymn-Book was published by
what was known as the English District of the Evangelical
Lutheran Synod of Missouri, Ohio, and Other States, in 1889.
In 1905, the Hymnal for Evangelical Lutheran Missions was is-
sued, edited by Prof. F. Bente of Concordia Seminary, St. Louis.

In 1880, the Evangelical Lutheran Hymnal was issued by
order of the Ohio Synod. In 1891, the General Council issued
the Church Book for the Use of Evangelical Lutheran Congrega-
tions in Philadelphia. This was also published by the Wartburg

142

THE CHORALE IN AMERICA

Publishing House for the Iowa Synod in 1911. This concern
issued its own hymnal, the Wartburg Hymnal, edited by O.
Hardwig, for the Iowa Synod in 1918. The Book of Worship
with Hymns and Tunes was widely used in the latter part
of the nineteenth century and the first quarter of the twentieth.
The Missouri Synod in convention in 1929 authorized a com-
plete revision of its hymnal. This was issued in 1941. In 1918,
the merger of thirty-six synods into the present United Lutheran
Church in America was completed. The year previous, the Com-
mon Service Book and Hymnal was published for this church
body. The American Lutheran Church, comprising the former
Ohio, Iowa, and Buffalo Synods was organized in 1930. Their
American Lutheran Hymnal was published the same year.

IN CHURCHES OF SWEDISH BACKGROUND

While Swedish colonists had settled on the banks of the
Delaware less than a century and a half after Columbus' visit
to America, the first permanent growth of Swedish Lutherans
came in the nineteenth century in the Middle West. In the days
before organs became common in this area, congregational sing-
ing was often accompanied by melodeons or psalmodicons. The
latter was a string-type instrument on the principle of the guitar.
Wallin had been particularly interested in the use of the psal-
modicon for church purposes in Sweden, and a special book of
melodies for the instrument had been prepared in 1830 by
Johann Dillner. It is possible that some of these volumes were
used in early Swedish settlements.

Swedish publications in America

Missionaries sent to America took with them copies of the
forbidden hymnal prepared by Svedberg. The first Swedish

143

THE CHORALE

songbook to be printed in America was the first section of
F emtio Andeliga Sanger, issued in 1856. Its contents were taken
largely from the writings of Ahnfelt. "To what extent the book
Femtio Andeliga Sanger was used at the services in the early
period we have no way of determining," writes Evand B. Law-
son. 150 "One is inclined to believe that the Psalmbok [the official
hymnbook of the Church in Sweden] was used in the majority
of the pioneer churches," he continues.

In I860, Hemlandssdnger was published by the Swedish
Lutheran Publication Society. Nearly all of the songs in the
previous publication were included and 150 others added. This
collection has had a long career. Three thousand copies of the
music edition had been printed by 1920 and five thousand copies
of the text edition by 1927.

In 1893, the synod adopted as its official hymnal the Thoman-
der-Wieselgren collection which had been issued in Sweden in
1849. An American edition was published in 1886 and again in
1901. Many selections are given two versions, both the Haeffner
type and the more rhythmic type.

English publications in America

Meanwhile, a demand for an English hymnal was manifesting
itself. The synod, in 1895, instructed the theological faculty at
Augustana Seminary to prepare such a hymnal. Four years later
a text edition of 355 hymns was submitted and approved. Its
musical counterpart, edited by Dr. Alfred Ostrom, was com-
pleted in 1901. The liturgy and most of the hymns in this col-
lection were translations from the Swedish. While this hymnal
was prepared as a temporary device, it remained in use until
1925 when the present Hymnal and Order of Service was
authorized.

■»2, p. 121.

144

THE CHORALE IN AMERICA
IN CHURCHES OF NORWEGIAN BACKGROUND

Norwegian publications in America

The first Norwegian synod in America was formed in 1846
at Jefferson Prairie, Wisconsin, and called the Evangelical Luth-
eran Church in America. Among the hymnals which the immi-
grants had with them were Balle's of 1797, Guldberg's of 1778,
Kingo's of 1819, and the Harboe-Guldberg hymnal of 1823.
Later immigrants brought with them Landstad's of 1869. With
them came also Lindeman's Koralbog.

The first hymnal to be printed by the Norwegians in America
was the Harboe-Guldberg hymnal, printed by Ole Anderson who
operated a printing press in Norway, Illinois. This same press
put out Pontoppidan's hymnal in 1856. Guldberg's hymnal' was
printed at Inmansville, Wisconsin, in 1854.

Knud Henderson supplied the first American-published cho-
rale book for the Norwegians in 1865, of which over 25,000
copies were sold. Henderson at this time was only thirty years
old. He had very little in common with the Zinck or O. A.
Lindeman style which prevailed in his native country in this
period. His ideas on rhythmic structure apparently did not meet
with universal favor, however, since a copy of the eleventh
edition of his book (published in 1900) examined by this writer
contains numerous pencil markings in which the rhythmic
movement is reduced to notes of more equal durational values.

Olaf Glasoe issued a revision of Ludwig Lindeman's Koralbog
in 1889 and again in 1899. Only negligible musical changes
were made as compared with the original.

English publications

The first English product of the Norwegians was the Church
and Sunday School Hymnal, issued in 1898. This continued in

145

i tie. L,tiuK/iL,a

use until the present Lutheran Hymnary was published in 1913.
In 1916, the Concordia hymnal was issued, containing both
English and Norwegian hymns. In 1933, a completely revised
edition, all English, was issued. The most important departure
in this work is the large number of Norwegian folk melodies
which have been introduced as hymn tunes.

IN CHURCHES OF DANISH BACKGROUND

The first Danish Lutheran church was built at Neenah, Wis-
consin, in 1872. The Salmebog for Kirke og Hjem, published
in Denmark in 1897, has been the accepted hymnal for churches
in America using the Danish language. The accompanying
chorale book frequently used is Menighedens Melodier til brug
i Kirke og Hjem by L. Birkedal-Barfod. This contains a total
of 1278 musical settings in two volumes, and includes melodies
for the above-mentioned hymnal and other commonly used
collections.

When the English language came into popular use, the need
for an English hymnal was met by using some hymnal already
available, particularly the early Concordia. The first move
toward obtaining their own hymnal in the English language was
made by the Danish church bodies in convention in 1924 and
1925. Their hymnal was first published in 1931. A revised and
enlarged edition followed in 1938.

146

Present Chorale Problems

THE MELODY

After having followed the development of the chorale as a
congregational hymn to this point and having observed this
development in the musical illustrations used, there should be
no further need to explain why the old chorale melodies are
found in so many different versions today. Each church group,
accustomed to its own versions of the chorales, has continued
to perpetuate these versions. Each group supposes that it has the
"correct" versions and wonders why other church bodies sing
them differently. It should now be evident that there is no such
thing as a correct version.

The one factor which has contributed the most to this diver-
sity of musical settings is the fact that these melodies were writ-
ten before our present system of musical notation was developed
and while musical composition was still in its infancy. Any
chorale melody written before the close of the seventeenth cen-
tury was most likely written in one of the old church modes
instead of our modern major and minor scales. As the modern
concept of tonality emerged, the old melodies were found awk-
ward in certain melodic progressions and were therefore slightly
altered from time to time to fit the new tonality.

147

THE CHORALE

Other melodic alterations resulted from fitting a new text to
an old melody. So few of our melodies have had a monogamic
career. They have been wedded over and over again to texts which
in many cases did not fit very well. If one line of verse had one
more syllable than the music allowed, a half note was divided
into two quarters to make room for the extra syllable. If there
were too many notes, it was a simple matter to substitute a long-
er note for two or more shorter notes or to add the slur sign.

The greatest changes, however, came with the introduction
of measured notation in the late seventeenth and eighteenth
centuries. The use of the bar line which divided the notation
into segments of equal duration determined by a meter signa-
ture, played havoc with the notation of the chorale melodies
which had come into existence previously.

In this book, twenty illustrations from Luther's Ein feste Burg
have been given on pages 17, 18, 22, 39, 43, 50, 53, 59, 70, 75,
85, 89, 97, 103, 105, 107, 125, 139. These are, for the most
part, different versions. There are also ten examples from
Luther's Vom Himmel hoch, on pages 50, 51, 53, 59, 68, 85,
104, 106, and 137.

An examination of current Lutheran hymnals reveals that
no progress has been made in arriving at a single version of the
old chorale melodies. Some have continued the practice of
omitting bar lines and meter signatures in an attempt to keep
the melodies in their original form. 151 Others have crammed
the old melodies into modern musical notation resulting in
awkward rhythmic movement or a readjustment of note values
to make the melodies fit the measure. Some have used mixed

151 Particularly the Common Service Book and Hymnal, and the Evangelical Luth-
eran Hymn-Book.

148

WEStiNl LHUKALU fKUULUM^

meters, such as changing from four-four to three-four and back

152

again

Thus to find the "correct" version of an old melody is impossi-
ble because there is none. Taking Luther's Ein feste Burg as an
example, if any version should be given the distinction of being
"correct" it should be Luther's own setting. His melody, how-
ever, was a product of the plain song technique of his day and
cannot be adapted to the modern musical medium without meet-
ing difficulties. Problems exist because while poetical meters
were developed long before the time of Luther, the modern
concept of musical meters and measures was not achieved until
the end of the seventeenth and early eighteenth centuries. The
consideration of the relationship of poetical and musical meters
is vital because there must be agreement between the accented
and unaccented syllables and words of the hymn and the ac-
cented and unaccented beats in the musical measure. The general
rhythmic flow of the music should agree with that of the text.

The art of music has developed considerably since the six-
teenth century. Idioms of musical expression have changed. The
composers of the first century of the Reformation used the
musical materials available in so far as they had developed at
that time. If one were to use the original versions of sixteenth
century melodies, there would be places where one would be
torn between a feeling of natural rhythmic movement and the
rhythmic movement the melody calls for.

To illustrate this point, let us consider Hassler's melody to
which O Sacred Head, Now Wounded, is sung. This was written
seventy-five years after the Reformation started and should there-
fore be considered a rather "modern" melody as compared with
the other early chorale melodies.

163 Such as in the American Lutheran Hymnal, No. 146.

149

IHU CtiUKALM

Hassler wrote the melody without the use of bar lines. 163
Following are versions of the first phrase of the melody as used
in current hymnals: 154

(b)

Version (a) is sometimes given without meter signature,
sometimes with the signature C which is incorrect in modern
practice. The third phrase of this version is put into a four-four
measure. The opening measure is in six-four, the second is in
three-two (not six-four), the third measure is back again in
six-four and the fourth is in three-two. A trained musical organ-
ization under a director could follow this but not an unwieldy
group such as a congregation. When a rhythmic pattern is first
established — and this is unconsciously done whether bar lines
are used or not — an inertia is created which will follow through
in repetitions of that basic pattern and cannot easily be persuaded
to change rapidly from one to another.

A congregational hymn tune must, first of all, be simple and
follow a natural rhythmic and melodic pattern. The reason why
folk songs on the whole make good hymn melodies is that they
are the simplest and most natural of all music. The imperfection
of our musical notation is only emphasized when a melody
antedating its development is forced into this modern medium

153 See page 138.

154 (a) In The Hymnal (No. 116), Lutheran Hymnary (No. 315), Common
Service Book and Hymnal (No. 99), set in four-two meter.

(b) Evangelical Lutheran Hymn-Book (No. 210) , American Lutheran Hymnal
(No. 383).

150

I

f A.tiJiJi*^ VJii^/iV/H-mj A IVV/

of expression. It can seldom be done with a good musical result
without altering the melody.

THE UNION OF MUSIC AND POETRY

Another factor which marks a poor hymn is the lack of
agreement between text and music. A wholesale rewriting of
the texts would be necessary to eliminate all such abuses. As
long as we have not only a hymn of four or more stanzas sung
to a melody, but often up to a dozen or more hymns to one
melody, some of these discrepancies will likely have to exist.

The most serious offences in this phase are of two kinds:
where the accented and unaccented syllables or words do not
fall on the accented and unaccented beats, respectively, in the
music; and where the literary verse does not come to an ending
appropriate to the musical cadence. The following illustrations
will show the nature of these problems.

J

By

J J

grace

J J J J | J J

am an heir of heav - en

Since the first beat in a measure is accented, by receives the
musical accent, whereas it is plain that grace is accented in the
poetical construction. A rhythmic setting such as the following,
together with reversing the words 1 am, would be more fitting:

J J I J J I J J I J J I J

By grace

heir

of

heav'n

The following will illustrate the problem of verse endings
failing to agree with musical endings:

151

±na <±,rnjK./iLiE.

c J I J- ^ J J i J J J i

L/o. God to heav'n as - np.nrl - eth! Thro' -

I J J J- J> | J- J , J. J> J J ,

out its re - gions vast With shouts tri - um - phant

I J J J | J J J. J> | J.

blend - eth The trum - pet's thrill - ing blast

In singing this hymn, the first four measures would be one
unit because of the very definite cadence on the word vast.
This would then convey the meaning that God ascended
throughout the vast regions of heaven. Obviously, this is not
correct. The poetical construction comes to a definite halt after
ascendeth, but the music does not. To complicate matters fur-
ther, the music stops on vast while the poetical construction is
dependent upon the next line to complete the thought.

The classic example of this type of misfit, to be found in
almost any hymnal, is the familiar

C J J J J | J J J |

•Tfi - sus lives! No long - er now

J J J J

| W d d •> I J J J i

Can thy ter - rors, death, ap - pall us

The musical setting calls for singing "Jesus lives no longer now"
since the musical cadence comes at that point.

The reason for these unfortunate misfits is a very basic and
simple one. Small musical compositions, such as the hymn, are
invariably written in two- or four-measure phrases ending with
a more or less complete cadence. This is a way of making music

152

r I\.lJOlH* J. »jlXL/A./Jlijli * J.\,KSU1^ljI*I

intelligible so that it is not an endless rambling without form.
Shorter phrases are balanced against each other to form periods,
or sentences, and these in turn make up the complete musical
composition. Thus a phrase in music is roughly equivalent to a
line of verse. It is perfectly legitimate and often desirable in
poetry, however, not to come to a halt at the end of each line.
Therefore, when the music comes to a natural stop, the poetical
expression may be very dependent upon the following line to
complete its thought. The degree of disagreement between text
and music depends upon the completeness of the musical pause
and the incompleteness of the poetical text, or vice versa, at any
given point. When a very definite musical stop comes at a poeti-
cal point which is wholly dependent upon the following verse,
an extremely awkward condition results.

RHYTHMIC VERSUS NONRHYTHMIC CHORALES 155

Throughout the sixteenth and seventeenth centuries the
rhythmic characteristics of the chorale melody in Germany
tended to follow the plain song tradition of using notes of equal
durational value. When this technique was introduced into
Sweden by Haeffner and into Denmark by Thomisson, it met
with opposition from the native Scandinavians who preferred
their more rhythmic sacred folk song type of hymn melody.
Kingo and Pontoppidan carried the matter too far when they
introduced dance tunes as hymn melodies. This was the case also
with Freylinghausen in Germany.

The even movement of the German chorale provides a very
churchly type of melody under certain conditions. It can also
become very monotonous and laborious. No one will protest in

i5r > The term nonrhytbmic has been used throughout to indicate the style of set-
ting which uses notes of even durational value.

153

VIXV/lWlbU

calling Praise to the Lord, the Almighty a splendid hymn tune.
Yet this moves in even quarter notes in most settings of the
melody except for the cadences. In comparing this type of mel-
ody with others, one comes to the conclusion that it takes an
exceptionally virile melody to overcome the handicap of even- '
note rhythm. It must have either an objective vigor or a sub-
jective beauty. It must be melodically varied and interesting.
The metrical construction of the text can also help or hinder a
melody.

The tendency in both the later Scandinavian and German
hymnals has been to "restore the original rhythmic movement,"
meaning the version which existed before the decorative style
under Pietism and the extreme even-note style under rationalism.
This has been accomplished to some extent.

CONCLUSION
A few general practices have contributed considerably to
problems existing in contemporary chorale literature. One of
the basic difficulties lies in the fact that there has not been close
co-operation between editors of hymnals, who have been pastors,
and editors of chorale books or musical versions as found in
contemporary hymnals. Hymns have been written for the most
part by people who have not understood the intricacies of music.
No doubt a writer would have a melody in mind in writing a
hymn and would be concerned with achieving an agreement
which would be acceptable to his limited understanding of the
task of combining the words with the melody. Others may have
written hymns with no melody in mind and left it for someone
later to find a melody which "fit." This procedure resulted in the
rather ridiculous situation of having often up to fifteen and
twenty — sometimes over thirty — hymns sung to one melody.

154

I

fKH^tiNl L.tlUKALa fKUBLtlMd

Editors of chorale books do not appear to have been much
concerned with hymns. Their interest was in refining the musi-
cal medium as the art of music developed from its very crude
state. Often alterations were made, both rhythmically and melod-
ically, to suit the particular whims of the day.

In America the situation has not been appreciably improved.
Our present music editions of hymnals contain the complete
hymn — words and a four-part musical setting. The old faults
are still there and are only brought out in bolder relief as a
result of this close association of words and music on one page.
The relationship of music and text has not been improved to any
great extent. One is not convinced that our present hymnals
are the product of both competent musicians and competent
hymnists.

The Lutheran chorale has had a profound influence upon
the development of music as an art and upon church music in
particular. The heritage of Lutheran hymnody from its various
sources presents today one of the greatest single stores of con-
gregational music and the greatest challenge to the Lutheran
church in America to refine and preserve this treasure for
posterity.

155

it

Appendix

EARLY LUTHERAN SONGBOOKS

A modern reprint of a hymnal prepared by M. Blum and first pub-
lished in Leipzig in 1530, called the Enchiridion geistlicher Gesenge und
Psalmen, contains the following list of "the most important oldest
Lutheran songbooks":

APPENDIX

■ Speratus

so-called Speratusbuch

1526

(reissue of
Sluter I)

Straszburger

Enchiridion

1525

26

Sturmer

Geistliche Gesaenge

1525

34

Trutebul I

Erfurter Enchiridion

1524

26

Trutebul II

Erfurter Enchiridion

1524

26

Walther I

Chorgesangbuechlein

1524

32

Walther II

Chorgesangbuechlein

1525

(2nd
edition)

Walther III

Chorgesangbuechlein

1537

(3rd
edition)

Walther IV

Ch orgesangbuechlein

1544

(4th
edition)

Zwickau I

Zwickauer Gesangbuch

1525

26

Zwickau II

Zwickauer Gesangbuch

1528

73

Achtliederbuch

Babst

Blum

Breslau

Herrgott, Hans I

Herrgott, Hans II

Klug I

Klug II .

Klug III

Klug IV

Loerffelt I

Loerffelt II

Loerffelt III

Lufft

Maler I

Maler II

Maler III

Schumann

Sluter I

Sluter II

Gesangbuch
Gesangbuch
Breslauer Enchiridion
Nuernberger Enchiridion
Nuernberger Enchiridion
Wittenberger Gesangbuch
Wittenberger Gesangbuch
Wittenberger Gesangbuch
Wittenberger Gesangbuch
Erfurter Enchiridion
Erfurter Enchiridion
Erfurter Enchiridion
Wittenberger Enchiridion
Erfurter Enchiridion
Erfurter Enchiridion
Erfurter Enchiridion
Schumannsches Gesangbuch
Plattdeutsch Gesangbuch
Sluetersches Gesangbuch

156

Number of

hymns

1524

8

1545

120

1530

63

1525

38

1525

37

1527

61

1529

54

1533

54

1535

62

1543

62

1525

39

1525

39

1526

40

1526

42

1524

26

1525

38

1527

63

1539

88

1525

54

1531

112

It will be noted that five publications came out in 1524, ten in 1525,
seven between 1526-1529, and nine between 1530-1545.

HYMNS BY MARTIN LUTHER*

Translations and Arrangements
of Latin Hymns

Jesus Christus unser Heiland

Verleih uns Frieden gnadiglich
Christum wir sollen loben
Der du bist drei

Herr Gott, dich loben wir
Komm, Gott, Schopfer

Komm, heiliger Geist

Nun komm der Heiden Heiland

Was fiircht'st du Feind

Wir glauben all' an Einen Gott

• From Grove's Dictionary of Music and Musicians.

Hymns based upon Latin Psalms

Ach Gott vom Ps. xii

Himmel
Aus tiefer Noth Ps. cxxx

(2 versions)
Ein feste Burg Ps. xlvi
Es spricht der Ps. xiv

Unweisen
Es wollt uns Ps. lxvii

Gott
War Gott nicht Ps. cxxiv

mit uns
Wohl dem, der Ps. cxxviii
in Gottes-

fiirchte

157

ltlt. LtiUKALU

Original Hymns

Em neues Lied

Erhalt uns, Herr'

Jesus Christus, unser Heiland

Nun freut euch

Vom Himmel kam

Amplifications of early German
translations of Latin Hymns
Gelobet seyst du
Mitten wir im Leben sind

Corrections or Arrangements
of early German Hymns
Christ lag in Todesbanden
Gott der Vater, wohn uns bei
Gott sei gelobet und gebenedeiet
Nun bitten wir den heiligen Geist

The Baptism of
Christ

The Decalogue

Hymns based upon Passages
of the Bible
Christ unser
Herr

Diess sind die

heiligen zehn

Gebot

Jesaia,

dem Propheten

Mensch, willst

du leben

The vision of

Isaiah

Abbr. version of

the Decalogue

Mit Fried und Nunc Dimittis

Freud

Sie ist mir lieb Rev. xii

Vater unser Lord's Prayer

Vom Himmel The Nativity

hoch

158

APPENDIX

AN EXPLANATION OF THE FIGURED BASS SYSTEM

Figured bass may be called a system of "musical shorthand" which
indicates the complete harmonic structure with only a skeleton outline
consisting of the melody and bass. The system came into use with the
advent of the harmonic technique at the close of the sixteenth century.

The figures employed indicate the intervals above the bass note,
thereby filling in the complete harmonic structure. Hence, 6 indicates
that the note six degrees up from the bass note is to be used. This note,
together with the soprano and bass already given, will indicate the
complete chord. If no figure is given, the bass note is automatically
considered to be the root of the chord. Sharps indicate that the third
above the bass note is to be sharped.

A solution of Ein feste Burg on page 75 follows:

i J

J i iJl

159

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THE CHORALE

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Louis: Verlag von L. Volkening, 1871.

65. Frantz, Klamer Wilhelm. Choralbuch. Halberstadt: im Bureau

fur Literatur und Kunst, 1811.

66. Freylinghausen, Johann Anastasius. Geistreiches Gesang-Buch.

Halle: Verlegung des Waysenhauses, 1741.

163

i

THE CHORALE

67. Glasoe, Oluf. Lindeman's Kordbuch med Tillceg. Minneapolis:

Augsburg Publishing House, 1899-

68. Haeffner, Joh. Christ. Fred. Svensk Choralbok. Stockholm: C.

Mueller, 1820.

69. Hassler, Hans Leo. Kirchengesdng, 1608. Augsburg: Verlegt im

Baerenreiter-Verlag, 1927.

70. Hassler, Hans Leo. Lust gotten. Edited by F. Zelle. Leipzig: Breit-

kopf & Hartel, 1887.

71. Henderson, Knud. Koralbog. 7th ed. Chicago: John Anderson

Publishing Co., 1900.

72. Hemat, Psalmer och Sanger. Lindsborg: Bethany Book Concern,

1888.

73. Hentschel, E. Evangelisches Choralbuch. 4th ed. Leipzig: Carl

Merseburger, I860.

74. Hillner, Becker, et. al. Vollstandiges vierstimmiges Taschen-

Chordbuch mit einfachen Zwischenspielen. 5th ed. Leipzig:
Wilhelm Baensch Verlagshandlung, 1870.

75. Hoff, Eric. Melodibog. Kristiania: P. T. Mailings Boghandel, 1876.

76. Hymnd, The. Rock Island: Augustana Book Concern, 1925.

77. Hymnd for Church and Home. Blair: Danish Lutheran Publishing

House, 1938, 1942.

78. JeSperson, Nils. Gradual, edited by the Danish Organist and Cantor

Association of 1905: K0benhavn: J. H. Schultz Forlag, 1935.

79. Kalhauge, Viggo. Puldstcendig Samling af Melodier til Grundt-

vig's Kirke-Salmebog. Kjobenhavn: P. Hemmingsens Tryk, 1876.

80. Kuehnau, Johann Christoph. Vierstemmige alte und neue Choral-

gesange. Berlin: Im Verlag des autors, 1786.

81. Kingo, Thomas. Gradual, En ny almindelig Kirke-Salmebog.

Trykt i Hans. Kongl. Majesteets privilegerede Trykkerie af
Christian Skroder, 1699.

82. Kulke, Martin. Choralbuch. Berlin: Verlag der Deutschen Evan-

gelischen Buch- und Traktat-Gesellschaft, 1911.

83. Kyriale, or Ordinary of Mass. Baltimore: John Murphy & Co.,

1867.

84. Layriz, Dr. Fridrich. Kern des deutschen Kirchengesangs. Nord-

lingen: C. H. Beck'schen Buchhandlung, 1st ed. 1844, 2nd ed.
1849, 3rd ed. 1853-1855.

164

BIBLIOGRAPHY

85. Lindeman, Ludwig. Koralbog. Christiania: J. W. Cappelens For-

lag, 1878.

86. Lindeman, Ludwig. Koralbog med Tillceg. Minneapolis: Augsburg

Publishing House, 1899.

87. Lindeman, O. A. Choral-Bog, for Kingos, Guldbergs og evangelisk-

christelige Psalmebog. Christiania: Chr. Gr0ndahl, 1838.

88. Lindstrom, Albert. Svenska Psdmboken. Stockholm: Froleen &

Co., 1892.

89. Lundblad, G. T. Svensk Koralbok i reviderad rythmisk form. 2nd

ed. Lund: C. W. K. Gleerups Forlag, 1910.

90. Lutheran Hymnary, The. Minneapolis: Augsburg Publishing

House, 1912.

91. Lutheran Hymnal, The. St. Louis: Concordia Publishing House,

1941.

92. Lutz, Fr. Choralbuch. Chicago: Wartburg Publishing House, 1902.

93. Lutze, Johann Jakob. Choralbuch, enthaltend einhundert in Ost-

und Westpreuszen gangbare Melodieen. Koenigsberg: Druck
und Verlag der Hartungschen Hofbuchdrukkerei, 1826.

94. Lose Blatter der Musikantengilde. Berlin: Georg Kallmeyer Verlag.

95. Mankell, Abraham. Svensk Psalmboken forenad med dess Koraler.

Stockholm: P. A. Norstedt & S6ner, 1865.

96. McHose, Allen I. Contrapuntal Harmonic Technique of the Eight-

eenth Century. New York: F. S. Crofts & Co., 1947.

97. 335 Melodie Deutscher Kirchengesange after Dr. Fr. Layriz. St.

Louis: Verlag von Volkening, 1887.

98. Mueller, Johann Michael. Neu-Aufgesetztes Psalm- und Choral-

Buch. Franckfurt am Maeyn: Johann Adolph Stock, 1718-19.
99- Nordqvist, Conrad and Aug. Lagergren. Svensk Koralbok efter
Haeffner. Stockholm: P. A. Norstedt & Soners Forlag, 1903.

100. Olsson, Otto. Koralbok for Schola och Hem. Stockholm: Svenska

Kyrkans Diakonistyrelses Bokforlag, 1923.

101. Praetorius, Michael. Musce Sionice. Edited by Friedrich Blume.

Wolfenbiittel-Berlin: Georg Kallmeyer Verlag, 1932.

102. Schmauk, John G. Deutsche Harmonie, oder Mehrstimmige Ge-

saenge fur Deutsche Singeschulen und Kitchen. 2nd ed. Phila-
delphia: Schafer und Koradi, 1847.

103. Schmidt, Balthasar, Nurnbergische alte und neue Kkchen-Lieder.

2nd ed. Niirnberg: J. M. Schmidt, 1773.

165

THE CHORALE

104. Speisz, Johann Martin. Davids Harpffen-Spiel. Heydelberg: in

Verlag Johann Jacob Haners, 1745.

105. Telemann, Georg Philip. Lieder-Buch. Hamburg: Gedruckt bey

P. L. Stromer, 1730.

106. Terry, Charles S. /. S. Bach's Original Hymn-Tunes for Congre-

gational Use. Oxford University Press, 1922.

107. Thomander-Wieselgren. Koral-Bok med den fulstandiga Svenska

Messan. Chicago: The Engberg-Holmberg Publishing Co., 1901.

108. Thomander-Wieselgren. Svenska Psalm-Boken af or 1819. Rock

Island: Augustana Book Concern, 1892.

109. Vollstaendige Sammlung theils ganz neu componwter . . . fur das

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110. Vulpius, Melchior. Bin schoen Geistlich Gesangbuch. Jena ( ? )-

1609 (?).

DICTIONARIES AND CYCLOPEDIAS

111. Davison, Archibald and Willi Apell. Historical Anthology of

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112. Fuerbringer, L., et. al. the Concordia Cyclopedia. St. Louis: Con-

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113. Grove's Dictionary of Music and Musicians. 5 Vols. London:

Macmillan & Co., 1928.

114. Jacobs, Henry E., and John A. S. Haas. The Lutheran Cyclopedia.

New York: Charles Scribners & Sons, 1899.

115. Julian, John. A Dictionary of Hymnology. London: John Murray,

1907.

116. Koch, Eduard Emil. Geschichte des Kirchenlieds und Kirchen-

gesangs. Stuttgart: Chr. Belser'schen Verlagshandlung, 1867.

117. Kiimmerle, S. Bncyklopadie der Bvangelischen Kkchenmusik

(4 volumes). Giitersloh: Bertelsmann, 1888-95.

118. Schweitzer, Albert. /. S. Bach. London: A & C. Black, Limited,

1938.

119. Spitta, Johann August. Johann Sebastian Bach. London: Novello

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120. Thuner, O. E. Dansk Salme-Leksikon, Kobenhavn: O. Lohse, 1930.

121. Works of Martin Luther. Philadelphia: A. J. Holman Co.

122. Zahn, Johannes. Die Melodien der Deutschen Bvangelischen

Kirchenlieder. 6 Vols. Giitersloh: Bertelsmann, 1889-93.

166

Index

Achtliederbuch, 24ff.
Adlung, Jacob, 67
Ahistrom, Olof, 112, 114, 118
American Lutheran Hymnal, 143
Andrae, Laurentius, 30
Anjou, N. E., 121
Arndt, Ernst, 99
Arrebos, Anders, 38
Arrhenius, Jacob, 61, 76
Babst Gesangbuch, 26ff., 80
Bach, C. P. E., 94, 96
Bach, J. S., 20, 7 Iff., 82
Balle's Hymnal, 95, 123, 132, 145
Bar lines, use of, 1, 86
Barth, Christian, 102
Bedinger, Hugo, 120
Benzelius, Bishop Erik, 76
Bielefeldt, V., 133
Bird, Prof. Frederick M., 141
Birkedal-Barford, L, 134, 146
Book of Worship, the, 143
Bourgeois, Louis, 84
Brauer, Karl, 139

Breitendich, F. C, 63, 92ff., 97ff.,

123
Brorson, Hans Adolph, 81
Cantor, 20, 33, 35, 54, 63, 67, 74
Choir, use of, 7, 19ff., 2 Iff., 28,

48, 50, 54ff., 58, 62ff., 73, 79,

92, 102
Church Hymn Book, 140
Clavichord, 82
Columbus, Samuel, 62
Common Service Book and

Hymnal, 143
Concordia, 146
Congregational singing, 6ff., 15,

19, 21, 23ff., 29ff., 48., 50,

55ff., 62, 66ff., 7 Iff., 78ff., 86,

88, 92, 96, 115, 117, 125ff.
Criiger, Johann, 58ff., 61
Decius, Nikolaus, 33, 45
Demme, Dr. C. R., 136
des Pres, Josquin, 2ff., 16
Deutsche Messe, 15

Deutsches Auslands Gesangbuch,
109

167

TMU CHUKALH

Deutsches Gesangbuch, 136
di Lasso, Orlando, 49
Dillner, Johann, 143
Diiben, Gustaf, 62
Eccard, Johannes, 49
Endlich, J., 138
Erfurter Enchiridion, 9, 24ft.
Etlich Christlich Lieder, 24
Evangelical Lutheran Hymn-
Book, 142

Evangelical Lutheran Hymnal,
142

Femtio Andelige Sanger, 144
Formula Missae, 15
Freylinghausen, 69ff, 75, 80, 84,

86, 93ff.
Friends of Church Song, 118ff.
Frigel, Per, 90, 112ff, 118
Geistliche Lieder, 26
Gellert, Christian, 83
Gerhardt, Paul, 47, 49, 59
German Mass, 15, 19, 33
Glasoe, Olaf, 145
Gregorian chant, 5, 8, 10, 14,

18ff., 29, 40ff., 65, 78ff.
Grundtvig, Bishop, 127, 131ff.
Haeffner, J. C. F., 90ff., 98, 11 Iff,

124

Hallberg, B. V, 116

Harmony, 1, 2, 4, 47ff, 52ff, 97,

106, 124, 126
Harpsichord, 82
Hassler, Hans Leo, 14, 49, 51,

138, I49ff.
Hauge, Hans Nielsen, 127, 129

Heischman, P. A, 115
Hemlands Sanger, 144
Henderson, Knud, 145
Henkel, Rev. Paul, 140
Hermann, Nikolaus, 45
Hoff, Eric, 129ff, 133
Holter, H. J, 139
Hymnal and Order of Service,
144

Hymns, Selected and Original,
I4lff.

Interludes, organ, 68, 88, 103,

106
Isaac, Heinrich, 3, 11, 16
Jensen, Gustav, 130
Jesperson, Nils, 34, 38ff, 42, 61,

92ff.
Josephson, J. A, 115
Kern des deutschen Kirchenge-

sangs, 106
Kingo, Thomas, 40ff, 61, 63,

80ff, 92, 97, 123, 130, 145
Kirchenbuch, 136
Klokker, 35

Klug's Gesangbuch, 9, 26
Knapp, Albert, 102
Knecht, Justin, 84
Kolmodin, Israel, 76
Krauth, Harriet Reynolds, 141
Kunze, Dr. J. C, 140
Landstad, M. B, 127ff, 130, 145
Latin Mass, 15, 31
Laub, Thomas, 133
Layriz, Dr. Friedrich, 106, 119,

137ff, 142

168

INDHX

Lewerth, C. J, 115
Lindeman, Ludwig, 116, 128ff,

145
Lindeman, O. A, 123ff, 129, 145
Lindstrom, Albert, 116
Lundblad, G. T., 117ff.
Luther, Martin, 5ff, 11, 13, 15ff,

24ff, 47, 55, 71, 73, 94
Lutheran Hymnary, 146
Mass, the, 7
Meistersingers, 12
Mellanspiel, 88
Melodeon, 143
Mendelssohn, Felix, 74
Minnesingers, 12
Modal music, Iff, 91, 113
MorenJ.T, 118ff, 121
Mortensen, Claus, 35
Muhlenberg, Henry Melchior,

135
Musae Sioniae, 52
Nicolai, Philip, 45ff, 80, 94, 129
Nodermann-Wulff Chorale Book,

120
Nordqvist-Lagergren Chorale

Book, H6ff.
Noren, Rikard, 118ff, 121
Notation, music, 1, 60, 86
Opera, influence of, 2, 48, 54, 60,

65ff.
Opitz, Martin, 47
Organ, use of, 20, 23, 31, 48,

54ff, 63, 67, 7 Iff, 78ff, 88,

90ff, 96, 102, 11 Iff.
Osiander, Lukas, 48ff, 55

Ostrom, Alfred, 144
Part music, 2
Pedersen, Arvid, 35
Petrie, Laurentius, 32ff.
Petrie, Olaus, 30ff.
Petterssons Koralpsalmbok,

H4ff.
Piano, 82
Pietism, 46, 60, 64ff, 69, 71, 79,

81ff, 95
Pontoppidan, Eric, 79ff, 92, 97,

145
Praxis pietatis melica, 58, 61
Pratorius, Michael, 52ff, 56, 61
Prieswerk, S, 102
Printing, music, 4
Psalmodia Germanica, 140
Psalmodicon, 143
Rationalism, 41, 82ff, 88, 99
Resen, H. P, 38
Reynolds, W. M, 141
Rhaw, George, 25
Rinkart, Martin, 46

Rist, Johann, 47

Roskilde Konvents-Salmebog,
131

Rudbeck, Petrus, 61, 76

Rupff, Conrad, 15ff.

Sachs, Hans, 12

Sadolin, Jorgen, 35

Sandstrom, Israel, 116

Scheidt, Samuel, 57ff, 61

Schein, Johann Hermann, 56, 106

Schemelli's hymnal, 72

169

ltiE L.ttUK/iLU

Schiorring, Niels, 94ff., 124
Schmucker, Dr. S. S., 141
Schop, Johann, 47
Schumann's Gesangbuch, 26
Secular melodies, used for hymns,
8, 10ff., 41

Selnecker, Nikolaus, 46

Senfl, Ludwig, 16

Sibelius, Archbishop, 77

Sodling, C. R, 116

Spegel, Haqvin, 76

Spener, Jakob, 64

Spitta, Karl, J. P., 101, 109

Stamitz, Johann, 82

Strebeck, George, 140

Svedberg, Bishop, 76ff., 110, 143

Swedish Mass, 33

Tausen, Hans, 35

Teschner, Melchior, 50

Thomander-Wieselgren hymnal,
144

Thomisson, Hans, 34ff., 61, 80,

97, 125
Tonal music, Iff.
Ullman, Bishop, 118ff.
Vallerius, Harold, 77ff., 112ff.
Vogler, Georg Josef, 90ff.
Vulpius, Melchior, 49, 51
Wallin, Olof, llOff., 117, 143
Walther, C. F. W., 136

Walther, Johann, 10ff., 15ff., 25,
27ff., 52

Weber, Georg, 61, 69
Weisse, Michael, 24
Wennerberg, Gunnar, 121
Wollenweber hymnal, 136
Zinck, H. C. O., 95ff., 123, 125,

128, 145
Zwischenspiel, 68ff., 103ff. ,106

Type used in this book

Body, 12 on 14 and 10 on 11 Garamond

Display, Garamond bold

170

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